11.0

EFFECTS MENU 559
arrangement are adjusted and that no time delay occurs. For percussive signals you can
even set the delay all the way to "0".
• Detector hp filter: This high-cut filter is positioned before the two compressors'
detection circuit. You can use it to specifically exclude basses and mids from these
rules. Complex signals with bass and hi information such as a subgroup or complete
mixdown tend to produce fewer "pumping" artifacts. This is because low-frequency
signals feature the most power and thereby always trigger regulation and modulate other
frequency ranges in the volume.
• Auto makeup gain: Normally, you have to continuously adjust level reduction to
generate "compression" at the same maximum level. This is done by activating auto
makeup gain. The volume difference expected from the set working parameters is
determined and applied as an output factor after master regulation. If you prefer to
adjust the "classic" level reduction and amplification manually, you can deactivate this
function.
• Adaptive release: This is "semi-automatic", i.e. you can roughly adjust the release time,
and am-track reduces it according to the current signal power from "a little (1%)" to
"considerably slower (100%)". In "Vintage" mode, this regulation method is particularly
intense, since it affects the feedback loop process. For instance, if you are editing vocal
tracks or dense, complex material, it can sound "calmer" or more "musical" if adaptive
release is activated.
• Capacity: Adjusting the "capacity" controller sets the time response of the "adaptive
release". The greater the capacity, the more sluggish the release adjustment. You can
therefore influence larger parts of the compensation response. For instance, if you want
to use vocals that have been "moved forward", you should use a short release time
(maybe 80-100 ms) and a greater value for semi-automatic (e.g. 80). Inversely, you can
reduce automatic feed by switching the relation (smaller capacity, generally greater
release time).
• Comp mix: Parallel compression is a popular "studio trick", particularly with complex
material. Adding the original signal retains the transients and spectral balance of the
source. You can add compression by turning the mix controller. A mixed signal is
particularly discreet, more transparent, and less "squishy" with vocals, whereby the
compressed portion usually has a higher level reduction than without adding the original.
Tape section
The tape simulation in am-track comes after the compression section and offers you the
opportunity to give your recordings an "analogue touch" by reproducing typical aspects of
a tape recording.
What also happens here is that the magnetic storage space of the tape becomes
exhausted and the signal distorted when the recording level is increased. There are other
factors as well however, like, for example, pre and de-emphasis. Since storing to tape
happens depending on the frequency, pre-emphasis makes sure the dynamic area is used
to its full extent, according to a normed characteristic curve (for example, NAB, EBU). This
is because the signal cannot simply be transferred unfiltered at high levels onto the media
via the recording head. The pre-filter creates a characteristic harmonic spectrum for
possibly intended overmodulation by the user, which then changes according to the level
of saturation.